He was the greatest superstar of Bangla cinema in his glory years, the sociable Bhadralok icon who brought down ironic stature to an ironic low with credible characters representing middle-class Bengal. The brand of stardom stood in stark contrast to the other shining light of contemporary cinema in the state – Uttam Kumar – whose status as a superhero in the Bengali psyche was mainly in idol worship and mass hysteria. Soumitra Chatterjee died after the war of 85 COVID-19
Soumitra Chattopadhyay – Chatterjee manipulated India – the answer to the word ‘incident’ is found in the form of a few actors, with the ease with which they deflect the image’s knots. His stardom was sensational, and yet born out of realism. He was the age-old mascot of the undisputed Satyajit Ray, who worked with Ustad in 14 films, and yet he gave similar assurances in contemporary commercial powerhouse work as AOJ Carr and Tarun Mazumdar. He is the recipient of the Dadasaheb Phalke Award (2012) and Padma Bhushan (2004), who was also awarded the Legion d’Honneur (2018) in France for his contribution to world cinema. Saumitra Chatterjee’s health condition is very serious, veteran actor is not reacting at all: Medical Board
Crucially, Saumitra Chattopadhyay’s greatness as a screen icon will stand the test of time in Bengali pop lore because he had something for everyone. For, she was not just Satyajit Ray’s Apu. Beyond such a vivid portrayal, he could simply become Ray’s feluda and reach every audience, eight to 80. It took a ray to bring life to Soumitra’s greatness, and yet the account of his first meeting is a famous story in Bengal. Ray was looking for his adult Apu in “Apur Sansar”, the final part of the Apu trilogy starting with “Path Panchali”.
A friend introduced Soumitra to the master filmmaker who immediately saw the announced actor too old to become a college student Appu as per his script. Soumitra will eventually play the role opposite Sharmila Tagore, and the rest is history. Soumitra’s cinematic fate is overwhelmed by Satyajit Ray’s great cinema, so through his most important phase Ustad’s filmography underlines the actor’s career graph.
Soumitra made her debut with “Apur Sansar” (1959) and in the next three decades, Ray projects as “Devi” (1960), “Kishore Kanya” (1961), “Abhijan” (1962), “Charulata” Will work “(19 9),” Kapursha O Mahapurush “(1985),” Araniyar Din Ratri “(1949),” Ashani Sankte “(19, 3),” Sonar Banana “(19, 9) ), “Joy Felunath” (1978), “Diamond Rajar Desh” (1980), “Ghare Barre” (1984), “Ganashatru” (1989) and “Shaksha Prachar” (1990).
It was a filmography that Ray, one of the world’s greatest filmmakers, shared with his chosen on-screen messenger. But if Ray worked with Soumitra 14 times, almost every major filmmaker tried to replicate it with the actor. If anything, beyond underscoring his credibility as an artist, this fact bears testimony to his professionalism and temperament as a human being. Beyond Ray consider some other diverse prolific filmmakers who worked with Soumitra, and you get the picture.
Mrinal Sen, another global icon of Bengali cinema of the era, first directed Soumitra in “Punashacha” (1961), and then in “Daini” (1964), “Akash Kusum” (1965) to collaborate with the actor Returned ), And “Mahapratibi” (1991). The iconic Tapan Sinha directed him in projects such as “Chudhita Pasan” (1960), “Jhinder Bandi” (1961), “Atanka” (1984) and “Antardadhan” (1992).
Mainstream titans of his time loved working with sociable Soumitra. Asit Sen directed him in “Swayambhara” (1961) and Swarlippy (1961), while Ajoy Kar directed “Otol Jöller Ahoban” (1962), “Saat Paake Banda” (1963), “Barnali” (1963), “Kancha” Ka Hera “(1965) and” Parineeta “(1969). Tarun Majumdar directed the actor for years in “Ekatuk Basha” (1965), “Sansar Simante” (1975), “Ganadevata” (1978), “Agomon” (1988) and “Path Prasad” (1991).
Most of his directors have often spoken of his passion for his craft. It was something that ensured that he would remain busy until his final days, essaying character roles with the same enthusiasm with which he played starring roles in his own days. His more than 300 film career can probably be explained by his highly customizable quality as an actor. He worked with new-age Bengali filmmakers as Atanu Ghosh (“Mayurakshi”), Suman Ghosh (“Podokkhep”, “Peace Heaven”, “Dawando”, “Basu Parmar”), Parth Chakraborty (“Samantharal”) Was doing. Nandita Roy and Shiboprasad Mukherjee (“Posto”).
He twice ventured out of Bengal into the Bollywood domain. In 1986, he starred alongside Roop Ganguly in the Hindi short film “Nirupama” based on Tagore’s story “Dena Pauna”. He also had a role in the 2002 release “Hindustani Sipahi”, based on Utpal Dutt’s famous Bengali drama “Ferrari Army”. Although these were temporary departures. For the most part, his staggering career is based on his Bengali filmography. It is a body of work that has recognized him beyond the National Award as Best Actor (“Podokkhep”). He also received the Sangeet Natak Akademi Award in 1998.
Although his greatness works in front of the camera in his body, Soumitra tried his hand at filmmaking. His directing effort was “Stree Ki Patra”, a telefilm based on Rabindranath Tagore’s “Stereer Patra” released in 1986. The film starred Roopa Ganguly and Usha Ganguly. The legacy of Bungalow Cinema’s Grand Old Man was established in his lifetime, evident by the number of Genoa actors who follow in his footsteps.
Young talents in today’s Bengali film industry such as Parambrata Chattopadhyay and Abir Chatterjee have built their careers on the lines of Soumitra, who is seeking stardom without losing sight of Bengali middle-class realities. These are actors who have taken what is today known as the multiplex cinema circuit as content-driven entertainment of refinement removed from KitKit’s cliché. This is something Soumitra did all those decades ago.
(The above story first appeared on November 15, 2020 01:07 pm IST. For more news and updates on politics, the world, sports, entertainment and lifestyle, log on to our website as latest. )